Summary Of ' The Woman Warrior ' By Maxine Hong Kingston

The book is called Warriors: A Dangerous Path, written by Erin Hunter, a peudonym for Cherith Baldry and Kate Cary. I chose this book, because my friend told me it was really a good book to read and I also thought the book cover looked cool. The most interesting thing to me in the whole book was when the cats teamed up with each other. The story takes place in a made-up forest and farmland that is based on New Forest in Southern England. There are four groups of feral cats involved in the story. The four groups called clans are RiverClan, ThunderClan, WindClan and ShadowClan. The four Clans are rivals of each other with each one having their own territory to hunt prey and to protect them from other Clans. The names of the main characters

These expectations increased when she was in the presence of “great power, [her] mother talking story” (20). In one particular situation, the narrator recalls her mother singing about Fa Mu Lan, the woman warrior. Although her mother expected her daughter to become a wife or a slave, the narrator had a different idea; she would “grow up a woman warrior” (20). As a young girl, she said that she “couldn’t tell where the stories left off and the dreams began” (19). This is the case in “White Tigers.” The narrator’s dream-state takes readers into the mind of a girl who attempts to please her mother and entire family by becoming a woman warrior. This is possibly an attempt to subside much of the harsh ridicule she receives from her mother due to cultural differences. Although this is a key factor in her early childhood, she learns to block out these criticisms as she grows older.

Amy Tan’s ,“Mother Tongue” and Maxine Kingston’s essay, “No Name Woman” represent a balance in cultures when obtaining an identity in American culture.  As first generation Chinese-Americans both Tan and Kingston faced many obstacles. Obstacles in language and appearance while balancing two cultures. Overcoming these obstacles that were faced and preserving heritage both women gained an identity as a successful American.

The story is around an American-conceived Chinese lady, Jing-mei, who goes to China to meet her twin stepsisters that her mom was compelled to relinquish numerous prior years. Since her mom had passed away just a couple of months prior, the meeting is full of vulnerability and bitterness. Jing-mei battles with self-character issues and what it truly intends to be Chinese. En route, she takes in reality about the reasons her mom deserted her sisters and the significance behind their names. At last, she at last associates with her sisters and makes the passionate association with her Chinese legacy.

In The Woman Warrior, Maxine Hong Kingston blurs fiction and reality using a poetic, singsong writing style, blending sentences together using sentence structure and diction. She also relies heavily on symbols to reveal inner conflict that she had while growing up Chinese American, trying to determine what was authentically Chinese and what was illusion.

The author argues the “combat masculine-warrior paradigm is the essence of military culture. This paradigm persists today even with the presence of “others” (e.g. women and gays) who do not fit the stereotypical image of combatant or masculine warrior.” In a 5-paragraph essay, discuss how the presence of women or gays will cause the military culture to change.

Having two identities is like mastering the dragon ways. In Maxine Hong Kingston’s 1976 The Woman Warrior, she retells about her autobiography in a fictional way and greatly magnifies the art of storytelling. Maxine introduces with the story about her unknown aunt and then transitioning to her favorite story about a woman warrior, Fa Mu Lan. Then she explores about her mother’s past, sister, and interaction with herself. She truly connects every part of the story and creates an identity for herself. The dragon passage illuminates Maxime’s identity and brings her stories into a whole where one must understand one part to find person’s identity.

Maxine Hong Kingston’s “The Woman Warrior” is novel composed of myths and memoirs that have shaped her life. Her mother’s talk-stories about her no name aunt, her own interpretation of Fa Mu Lan, the stories of ghosts in doom rooms and American culture have been the basis of her learning. She learned morals, truths, and principals that would be the basis of her individuality.

Chapter one titled, “No Name Woman”, is an example of the narrator referring to her mother’s talk-stories and a prominent illustration of incorporating the past into the present. This talk- story is culturally based to express information about the past. In “No Name Women”, the narrator explains that her mother, Brave Orchid, would use the stories to give lessons on life that would stick with her children. She represents a bridge figure with one foot in the past, her Chinese culture that she relays on to the family and one foot in the present, her assimilation to American life. The bridge that Brave Orchid acts as brings together the two cultures and allows her to incorporate the family’s Chinese history into their present

In “No Name Woman,” the theme of silence starts with the elementary words of the memoir stating you must not tell anyone. This statement is ironic because Kingston is in fact telling everyone, giving voice to Chinese customs and the lives that are foregone. As written in her memoir, she states, “You must not tell anyone,” my mother said, “what I am about to tell you. In China your father had a sister who killed herself. She jumped into the family well. We say that your father has all brothers because it is as if she had never been born.” (Deshazer 308). It is especially notable and ironic that the memoir begins with the phrase “You must not tell anyone.” Her effort in No Name Woman is to write about that which is never said; her unnamed dead aunt, and the outrageous behaviors in her mother’s Chinese village. Kingston was not necessarily silenced direct by a male figure; however, the words said by her mother “You must not tell anyone” is a representation of Kingston father’s authorization voice through her mother’s explanation. Kingston’s effort is also about discovering a voice, as both a Chinese-American

Maxine Kingston in “The Women Warrior” presents a traditional Chinese society that anticipates women not to decide what is best for them all by themselves. Kingston creates a woman who goes beyond this ritual culture constraint and who take up

The theme of “voiceless woman” throughout the book “the woman warrior” is of great importance. Maxine Kingston narrates several stories in which gives clear examples on how woman in her family are diminished and silenced by Chinese culture. The author not only provides a voice for herself but also for other women in her family and in her community that did not had the opportunity to speak out and tell their stories.

Maxine Hong Kingston's autobiography, The Woman Warrior, features a young Chinese-American constantly searching for "an unusual bird" that would serve as her impeccable guide on her quest for individuality (49). Instead of the flawless guide she seeks, Kingston develops under the influence of other teachers who either seem more fallible or less realistic. Dependent upon their guidance, she grows under the influence of American and Chinese schools and the role models of Brave Orchid, Fa Mu Lan, and Moon Orchid. Her education by these counselors consequently causes her to abandon her search for an escort, the bird to be found somewhere in the measureless sky,

In The Woman Warrior, Maxine Hong Kingston crafts a fictitious memoir of her girlhood among ghosts. The book’s classification as a memoir incited significant debate, and the authenticity of her representation of Chinese American culture was contested by Asian American scholars and authors. The Woman Warrior is ingenuitive in its manipulation of the autobiographical genre. Kingston integrates the value of storytelling in her memoir and relates it to dominant themes about silence, cultural authenticity, and the cultivation of identity. Throughout her work, Kingston reaches a variety of conclusions about the stories her mother told her by writing interpretations of her mother, Brave Orchid’s, “talk-story”. Brave Orchid’s talk-story is a form

The second story, “White Tigers”, is a mythical tale of a female warrior who disguises herself as a male and fights in the place of the father. The story completely contradicts the conventional role of woman in Chinese society. It places a woman in a position of bravery and heroism, which are traditionally reserved for men.